Methods for tracking down Lepidopterans to explore through photography
Story and photographs by Dave Huth
I photograph creatures and their environments as a way of exploring and understanding the beauty and complexity of the living world. I began photographing moths and caterpillars after explaining to my then-7-year-old daughter how her grandfather first got me interested in nature. My Dad is an amateur Lepidopterist who introduced me to these weird and secretive creatures when I was about her age.
Most nature photographers go out of their way to avoid the harsh, unforgiving contrast of direct sunlight. The resulting blown highlights and blocked up shadows have ruined many potentially great photos. This type of lighting may work for certain landscape images, but for floral portraits, the soft, even light of an overcast day is generally preferred.
Situated along the Rio Grande River, Bosque del Apache National Wildlife Refuge covers more than 57,000 acres and is a major wintering ground for cranes and waterfowl. Refuge personnel manage the water levels of its wetlands and impoundments to simulate what was once the seasonal flow of water from the Rio Grande before the river was damned and the flow altered. To feed the huge number of birds visiting the refuge each year, nearby fields are planted with corn, winter wheat, millet, and other grains. Loop roads transect the refuge marshes and fields and provide prime sites for wildlife viewing and photography. Species that may be seen include shovelers, buffleheads, pintails, teal and other ducks; bald and golden eagles; kestrels and other hawks; turkey; meadowlarks; quail; roadrunners; coyotes; mule deer; and more. In November, large flocks of snow geese and sandhill cranes will be present. At night to escape predators, the birds flock to the marshes and shallow pools. With dawn, the snow geese and other waterfowl rise in mass from the wetlands and sweep overhead on their way to nearby fields to feed. Each day we will spend the early morning and late afternoon hours at the refuge photographing birds and many other species of wildlife which are present at the sanctuary.
Many years ago, I was walking through a lovely old-growth stand of northern hardwoods on a glacial moraine hillside in northeastern Connecticut, conducting a bird survey for a proposed residential subdivision. With each step, my mind slipped deeper into despair over sacrificing this beautiful woodland habitat for human housing. Continue reading →
When spring/summer rolls around, I always start to think about the songbird migration – especially my experiences with warblers on Monhegan Island, Maine. The first time I set foot on Monhegan Island, I needed a pinch to make sure I hadn’t died and gone to heaven. Walking up the hill from the ferry into the village was like going back fifty years in time: dirt roads, handmade signs, and wooden buildings. It was like a Winslow Homer painting had suddenly sprung to life before my eyes. If this wasn’t enough—flocks of colorful songbirds flitted about all over the place, perching on trees, rooftops, fences, anything that was standing upright. The only things for visitors to do on the island are paint (Monhegan supports a summer art colony, including many famous artists like Jamie Wyeth), photograph (every well-known bird photographer visits Monhegan from time to time), and watch birds—lots and lots of birds! Continue reading →
Experience has taught me to exploit compositional techniques that help my nature images take on a more compelling story-telling quality. One such technique that I employ frequently is juxtaposition. This fancy word is formed by joining the Latin root “juxta”, which translates to “next to”, to the word “position”. Compositionally speaking, this means placing the subject next to some object in order to set the stage for a compare-and-contrast scenario. In some cases it is the similarity of the subject to the secondary object, whereas in other cases it may be the difference between the two that is stressed. More often than not, what results is a more inviting look and feel to the final image. In this article, I will delve into more detail about juxtaposition and highlight some examples from my own images. Continue reading →
Black skimmers are my enigma bird. Just when I think they couldn’t possibly be around, they show up in droves. Then when I think it’s a perfect day to see some, they’re nowhere to be found. Continue reading →
Landscape photographers are exhilarated when a prominent portion of the landscape becomes illuminated with golden sunshine, especially when the sky directly behind it is a stormy dark gray. Unfortunately, these incredible displays of spectacular light are unpredictable and usually fleeting. Fifteen years ago I decided to use my Canon Speedlite to provide the blast of light I needed to light a rock ten meters across a raging river. My first flash attempts were futile since the Speedlite didn’t add any additional light to the rock. I pondered the situation for a while and finally realized I had “murdered” my Speedlite. Using ISO 100, a polarizer, stopping down the lens to f/22, and allowing the camera to set the zoom on the Speedlite’s flash head to 24mm to match the lens being used all conspired to make it impossible to light an object only ten yards away. Continue reading →
“What lens should I bring (into the field with me)? Is a question I hear many, many times a year while conducting tours, classes and workshops. While I joke about this, often saying: “well, all of them”. To an experienced photographer the question on the surface seems silly. To be truthful however it is a very valid question, on more than one front. While I usually address the issue up front in classes before we hit the field, I and other experienced photographers should be more aware that this is not as obvious as we think it is. Continue reading →